| List of Figures and Tables |
|
xiv | |
| Preface |
|
xvii | |
| Notes to the Third Edition |
|
xxii | |
| Acknowledgments |
|
xxiv | |
| Introduction: The Digital Musician |
|
1 | (1) |
| What Are You? |
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2 | (3) |
| Where Have You Come From? |
|
5 | (5) |
| Where Are You Going? |
|
10 | (2) |
| Introduction to the Case Studies |
|
12 | (4) |
| Food for Thought |
|
16 | (1) |
| Projects |
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17 | (2) |
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Project 1 (Short): Elevator Pitch |
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17 | (1) |
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Project 2 (Medium): Personal Vision Statement |
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17 | (1) |
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Project 3 (Long): Creating a Portfolio |
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18 | (1) |
| Further Reading |
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19 | (2) |
| Part I Aural Awareness |
|
21 | (56) |
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23 | (20) |
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24 | (6) |
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Information: The Mechanics of Hearing |
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25 | (1) |
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26 | (1) |
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26 | (4) |
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30 | (4) |
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30 | (2) |
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32 | (2) |
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Comments from the Case Studies |
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34 | (1) |
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35 | (1) |
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36 | (3) |
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Project 4 (Short): Listen, Listen |
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36 | (1) |
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Project 5 (Medium): Soundwalk |
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36 | (1) |
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Project 6 (Long): Soundscape Composition |
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37 | (2) |
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39 | (1) |
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40 | (3) |
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43 | (13) |
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44 | (1) |
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44 | (2) |
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46 | (1) |
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47 | (1) |
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48 | (2) |
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Comments from the Case Studies |
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50 | (1) |
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50 | (1) |
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51 | (3) |
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Project 7 (Short): Extended Duration |
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51 | (1) |
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Project 8 (Medium): Imitation Game |
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51 | (1) |
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Project 9 (Long): Jean-Claude Risset's Sud |
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52 | (2) |
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54 | (1) |
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54 | (2) |
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56 | (21) |
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Acoustics and Psychoacoustics |
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57 | (2) |
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Information: Fundamentals of Acoustics |
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58 | (1) |
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59 | (3) |
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Information: Noise and Loudness |
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60 | (2) |
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62 | (1) |
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63 | (3) |
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Information: The Harmonic Series |
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65 | (1) |
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66 | (2) |
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68 | (3) |
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Harmonicity and Inharmonicity |
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69 | (1) |
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70 | (1) |
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Comments from the Case Studies |
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71 | (1) |
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71 | (1) |
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72 | (2) |
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Project 10 (Short): From Rhythm to Pitch (and Back Again) |
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72 | (1) |
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Project 11 (Medium): Sound Structures |
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73 | (1) |
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Project 12 (Long): Drone Piece |
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73 | (1) |
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74 | (1) |
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75 | (2) |
| Part II Musical Creativity |
|
77 | (86) |
|
4 Working with Digital Audio |
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79 | (22) |
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80 | (1) |
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81 | (2) |
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Information: Fourier Transforms |
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83 | (1) |
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83 | (2) |
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Information: File Formats |
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84 | (1) |
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85 | (4) |
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85 | (4) |
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89 | (4) |
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90 | (3) |
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93 | (1) |
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Music Information Retrieval |
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93 | (1) |
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94 | (1) |
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Comments from the Case Studies |
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95 | (1) |
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96 | (1) |
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97 | (1) |
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Project 13 (Short): FFT Processing |
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97 | (1) |
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Project 14 (Medium): Mix Transitions |
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97 | (1) |
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Project 15 (Long): Sonification Project |
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98 | (1) |
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98 | (1) |
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99 | (2) |
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101 | (21) |
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102 | (1) |
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103 | (3) |
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103 | (1) |
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104 | (2) |
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106 | (9) |
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108 | (1) |
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109 | (2) |
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111 | (1) |
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112 | (1) |
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113 | (2) |
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115 | (1) |
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Comments from the Case Studies |
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116 | (2) |
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118 | (1) |
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118 | (2) |
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Project 16 (Short): Reverse EQ |
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118 | (1) |
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Project 17 (Medium): Analysis-Synthesis |
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119 | (1) |
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Project 18 (Long): Spectral Composition |
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119 | (1) |
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120 | (1) |
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120 | (2) |
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122 | (21) |
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123 | (1) |
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124 | (3) |
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Information: Behavior of Sound in Space |
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125 | (2) |
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127 | (2) |
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129 | (1) |
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Multichannel Sound Diffusion |
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129 | (3) |
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Information: Spatialization Layouts |
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130 | (2) |
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132 | (1) |
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133 | (1) |
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134 | (1) |
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Comments from the Case Studies |
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135 | (2) |
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137 | (1) |
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138 | (2) |
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Project 19 (Short): Diffraction Experiment |
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138 | (1) |
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Project 20 (Medium): Sonic Wiki |
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138 | (1) |
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Project 21 (Long): Quintessence |
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139 | (1) |
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140 | (1) |
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141 | (2) |
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143 | (20) |
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143 | (1) |
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144 | (3) |
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The Compositional Process |
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147 | (1) |
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148 | (1) |
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148 | (1) |
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149 | (1) |
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150 | (2) |
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152 | (3) |
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155 | (1) |
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Collaborative Composition |
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156 | (1) |
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Comments from the Case Studies |
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157 | (2) |
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159 | (1) |
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159 | (2) |
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Project 22 (Short): Instant Mood |
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159 | (1) |
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Project 23 (Medium): Pastiche |
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160 | (1) |
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Project 24 (Long): Inspiration Box |
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161 | (1) |
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161 | (2) |
| Part III Performance Ability |
|
163 | (72) |
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165 | (17) |
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Musicians and Their Instruments |
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166 | (1) |
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167 | (1) |
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Extended Acoustic Instruments |
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168 | (2) |
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170 | (1) |
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170 | (2) |
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Information: Some Typical MIDI Set-Ups |
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171 | (1) |
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172 | (1) |
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173 | (2) |
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Comments from the Case Studies |
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175 | (3) |
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178 | (1) |
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178 | (2) |
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Project 25 (Short): Restricted Instruments |
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178 | (1) |
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Project 26 (Medium): Controller Experiment |
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179 | (1) |
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Project 27 (Long): ping-hack-rom-seed |
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179 | (1) |
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180 | (1) |
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180 | (2) |
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182 | (19) |
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183 | (1) |
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183 | (1) |
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184 | (2) |
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186 | (1) |
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187 | (1) |
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188 | (3) |
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191 | (1) |
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192 | (1) |
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193 | (1) |
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Comments from the Case Studies |
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194 | (2) |
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196 | (1) |
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196 | (2) |
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Project 28 (Short): Network Performance |
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196 | (1) |
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Project 29 (Medium): Performance Score |
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197 | (1) |
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Project 30 (Long): Improvisation Ensemble |
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197 | (1) |
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198 | (1) |
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199 | (2) |
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201 | (15) |
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202 | (1) |
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203 | (1) |
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204 | (1) |
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205 | (1) |
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205 | (3) |
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208 | (1) |
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208 | (1) |
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208 | (1) |
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Comments from the Case Studies |
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208 | (4) |
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212 | (1) |
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212 | (2) |
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Project 31 (Short): Three Levels of Expression |
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212 | (1) |
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Project 32 (Medium): Digital Musicianship Exam |
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213 | (1) |
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Project 33 (Long): Data Virtuoso |
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213 | (1) |
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214 | (1) |
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214 | (2) |
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216 | (19) |
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217 | (1) |
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218 | (1) |
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219 | (1) |
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220 | (2) |
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222 | (2) |
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224 | (1) |
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225 | (1) |
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226 | (1) |
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226 | (2) |
|
Comments from the Case Studies |
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228 | (1) |
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229 | (1) |
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229 | (2) |
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Project 34 (Short): Gameplay Music |
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229 | (1) |
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Project 35 (Medium): Sound-Track Substitutions |
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230 | (1) |
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Project 36 (Long): VJ Set |
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230 | (1) |
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231 | (2) |
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233 | (2) |
| Part IV Cultural Knowledge |
|
235 | (58) |
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237 | (16) |
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239 | (1) |
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240 | (1) |
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241 | (1) |
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241 | (1) |
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242 | (1) |
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243 | (3) |
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Bret Battey (2005) Autarkeia Aggregatum |
|
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243 | (1) |
|
Wendy Carlos (1986) 'Poem for Bali' from Beauty in the Beast |
|
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244 | (1) |
|
Jon Hassell/Brian Eno (1980) Fourth World, Vol. I-Possible Musics |
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245 | (1) |
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Alejandro Villa() (1991) Chant d'Ailleurs |
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246 | (1) |
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Comments from the Case Studies |
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246 | (2) |
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248 | (1) |
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249 | (1) |
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Project 37 (Short): Cultural Origins |
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249 | (1) |
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Project 38 (Medium): I Hate... |
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249 | (1) |
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Project 39 (Long): Cultural Translation |
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250 | (1) |
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250 | (1) |
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251 | (2) |
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253 | (20) |
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254 | (6) |
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Modernism and Postmodernism |
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255 | (2) |
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Structuralism and Deconstruction |
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257 | (1) |
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Some Notes about Semiotics |
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258 | (2) |
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260 | (1) |
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261 | (4) |
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265 | (1) |
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Comments from the Case Studies |
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266 | (2) |
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268 | (1) |
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268 | (3) |
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Project 40 (Short): Balloon Debate |
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268 | (1) |
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Project 41 (Medium): Aesthetic Experiment |
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269 | (1) |
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Project 42 (Long): Creative Deconstruction |
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270 | (1) |
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271 | (2) |
|
14 Understanding Digital Music |
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273 | (20) |
|
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274 | (2) |
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Audience or User-Controlled Music |
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275 | (1) |
|
Computer-Controlled Music |
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275 | (1) |
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Composer/Performer-Controlled Music |
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276 | (1) |
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276 | (4) |
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280 | (1) |
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281 | (4) |
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285 | (1) |
|
Comments from the Case Studies |
|
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286 | (1) |
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287 | (1) |
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287 | (3) |
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Project 43 (Short): Quick Analysis |
|
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287 | (1) |
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Project 44 (Medium): Visual Score |
|
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288 | (1) |
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Project 45 (Long): Digital Minimalism |
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289 | (1) |
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290 | (1) |
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290 | (3) |
| Part V Real-World Skills |
|
293 | (24) |
|
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|
295 | (22) |
|
Being a Musician in the Digital World |
|
|
296 | (1) |
|
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296 | (3) |
|
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299 | (2) |
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301 | (2) |
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Networking and Self-Promotion |
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303 | (3) |
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Production and Publishing |
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306 | (2) |
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308 | (2) |
|
Comments from the Case Studies |
|
|
310 | (3) |
|
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313 | (1) |
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313 | (2) |
|
Project 46 (Short): Open a Channel |
|
|
313 | (1) |
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Project 47 (Medium): Pecha Kucha |
|
|
314 | (1) |
|
Project 48 (Long): Sonic Branding |
|
|
314 | (1) |
|
|
|
315 | (2) |
| Index |
|
317 | |